Neon

The rapid rise of digital has unearthed a new threat to television companies worldwide: video streaming and illegal downloading. For SKY New Zealand, the solution was to create a video-streaming service of their own. There service’s user interface would account for 90% of the user experience. So that’s exactly where we started.

What did SKY customers want? To get from searching content to watching it, as quickly and easily as possible. That’s how NEON, a bright, bold, brand of the future was born.

Once you switch its interactive logo ‘on’, it breaks your search into three simple steps; Explore, Inform, and Escape. Incredibly intuitive, it guides you through vast amounts of content so that you find exactly what you want to watch. And once you’ve found it, it gets out of the way. So you can forget about your world, and drift effortlessly into another.

City of Melbourne

City of Melbourne is a dynamic, progressive city, internationally recognized for its diversity, innovation, sustainability, and livability. City of Melbourne council supports the city’s world-class offerings, represents it nationally and internationally, and ensures it remains a preeminent Australian center for culture, arts, dining, entertainment, education, and shopping. Since implementing its previous identity 15 years ago, City of Melbourne has experienced significant change. As a result, the council had accumulated a range of isolated logos for various services, which had become increasingly difficult and costly to manage. The fragmentation of City of Melbourne’s identity meant equity was driven away from the core brand, and the council realized that it needed a long-term solution.

City of Melbourne asked Landor to develop a cohesive brand strategy and new identity system. The challenge was to reflect City of Melbourne’s cool sophistication on the world stage, capture the passion of its people, and provide the city with a unified, flexible, and future-focused image.

The new identity needed to overcome political complexities, improve the cost-effectiveness of managing the brand, and unite the disparate range of entities (including the council, City of Melbourne’s destination brand, and an ever-growing portfolio of different initiatives, programs, services, events, and activities).

We built the branding program based on the results of a thorough audit of City of Melbourne’s various identities and its long-term sustainability and strategic plans. The audit assessed public opinion and interviewed stakeholders who included local government officials, business owners, and community representatives. At the heart of the new design, the bold “M” presents a full expression of the identity system - immediately recognizable and as multifaceted as the city itself: creative, cultural, sustainable. A celebration of diversity and personal interpretation that is both future-proof and iconic.

Designed at Landor with Jason Little, Sam Pemberton, Ivana Martinovic, and Malin Holmstrom.

Alzheimer's Australia

Turning the unspoken, into the unforgettable

By 2030, Alzheimer’s disease could kill more Australians than any other disease, and, currently, there is no cure.

To help increase awareness and the level of funding afforded to Alzheimer’s Disease and other forms of dementia, we had to create a brand that could cut through the clutter of the charity landscape. A brand with a fighting spirit at its heart. A brand designed to create a a grass roots movement and galvanize an entire nation.

The identity is bold, simple, clear, and, deliberately, very easy to manage. Using just two colours and, often, only four words. It features a flexible logo that changes and evolves to communicate different messages. From fighting to funding, to research and education - whatever the topic, we have a logo to carry that message.

We marched march on Parliament House as part of a high impact brand launch, joined by the Alzheimer’s Australia team, Ita Buttrose, and hundreds of other passionate supporters.

The march heralded not only the launch of the new brand identity, but the “bloody great big bomb” we were told to set off by the organisations president, Glenn Rees.

AGDA Posters

A series of event posters made for AGDA (Australian Graphic Designers Association) including designer dinners, conferences, and talks between the period of 2009 to 2011.

The Great Blandini

Following last years rebrand of Steve Bland as - The Great Blandini - Photoshop retoucher extraordinaire. We produced this little magic book of 'Photo-shoppe'. The brochure features 10 tricks used by the great man himself, plus some custom retouches that show off his unparalleled skills - such as sawing the women in half.

The whole brochure is hand drawn with calligraphy pens and ink (even the body copy). A rare thing these days and a real labour of love. The brochure is printed on recycled stock and singer sewn stitched down the spine. To be sent out to Steve's design industry contacts in 2012 as a keepsake and a powerful demonstration of Blandini's mastery of the mysterious Photo-shoppe.

Modeling kindly provided in the form of Mike Tossetto, Ami Gainford and David Sutherland.

Optus

The new identity is designed to build greater positivity, optimism and emotional connection with Optus customers. In a market dominated by formal and formulaic brands, it’s a clear departure from what many Australians would expect from a large telecommunications provider. The brand expression uses a new voice, one that is friendly, easy to understand, and peppered with a relaxed humour that doesn’t try too hard.

Along with a completely refreshed logo and colour palette, a bespoke hand-drawn headline typeface and brand character have been introduced to provide a greater level of humanity. Together, these allow us to demonstrate how Optus has a useful and significant role in enabling the people of Australia to do the things they want with minimal stress and maximum ease.

Designed at Re.

Cloak & Dagger

What’s the first thing you do when a recruiter calls? You pretend you’re not talking to a recruiter. At the end of 2011, Chantal Manning-Knight thought it was time to start doing things differently.

Addressing the standard hurdles of changing jobs – secret meetings, awkward phone calls and absolute discretion – we avoided all reference to recruitment whatsoever. Instead we created Cloak & Dagger; online emporium of coats and knives (and jobs), where only the perfect fit and sharpest cut will make it.

Chet Faker

Album art photography for Thinking In Textures, the debut extended play (EP) by Australian musician Chet Faker.

Design and art direction by Christopher Doyle.

Yummy Tummy Koalas

Top Taste identified a differentiated, single serve, individually wrapped, product format that would be difficult to replicate by private label and competitors. The creative team were excited and inspired by a truly differentiated product concept.

The result? A fun, playful, evocative brand with a refreshing identity, loaded with personality. We extended the idea of the characters to every face of the packaging through a fun and cheeky visual style, influencing the brand beyond packaging and creating a new dimension to bring the characters Kevin, Bruce and Cath to life.

Al Carbón

Our brief was a tweet. Less than 140 characters. "Wanted: Dynamic and motivated designer to spruce up the Al Carbon truck before we hit the streets of Sydney." In an inspiring and intimate warehouse (doubling as La Lupita, up until recently, a twice weekly pop up restaurant before moving to The Basement) we met Attila Yilmaz to discuss the opportunity to brand his colossal food truck over tacos, raspados and some Mexican beers.

Attila was about to launch Al Carbon as part of the City of Sydney's licensed food trucks trial. A retired policeman, Al Carbon (which means 'over charcoal') was Attila's chance to throw himself into something he loved, food. After some time travelling around Mexico, Attila had discovered authentic ways to cook Mexican food, coupled with hints of inspiration from his father and his Turkish roots.

Inspired by our surroundings, we had an idea. What if we could transport our studio to the warehouse and do something we'd never done before - Create a brand in a day. So one Saturday, we transported a mix of 20 interior and graphic designers, writers, strategists, management and client service people, macs and flip-charts to La Lupita. The process was fluid, but with frequent scheduled meetings to keep us on track. Leaders of each team would come together each hour to discuss ideas, agree direction and to allow Attila to be involved every step of the way. We developed a customer journey, social media strategy, brand identity and graphics for the truck as well as the story of Al Carbon. We literally created a brand in a day.

We agreed that the brand of Al Carbon would be a mythical place. Everything on the truck would be the best of Al Carbon.' The best chef of Al Carbon, the juiciest limes, the sweetest pineapple. Wherever the food truck pulled up it would transform the space it occupied. Visitors would enter the world of Al Carbon. To communicate the idea, we conceived the brand as a tourist campaign. 'Visit Al Carbon.' In transit, the truck was a big tourism ad for itself. When static, it became Al Carbon the place. We used bins to create a perimeter around the truck, so visitors literally cross the border and are asked to abandon all Mexican cliché's like moustaches and sombrero's. This was to be an authentic experience after all! We designed the Immigración, where customers order their tacos and drinks. And we focused the queue along the side of the flame grilling barbecue where the theatre of cooking the meat captivated all the senses.